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Reading Animal-Human Relations: Sámr and Gunnarr Njáls saga 阅读动物与人类关系:Sámr和Gunnarr Njáls传奇
IF 0.4 4区 社会学 Q1 Arts and Humanities Pub Date : 2023-02-17 DOI: 10.5406/21638195.95.1.02
Harriet J. Evans Tang
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引用次数: 0
Poetic Resistance: Girls' Autograph Albums during World War II in Norway 诗歌抵抗:二战期间挪威女孩的签名相册
IF 0.4 4区 社会学 Q1 Arts and Humanities Pub Date : 2022-10-01 DOI: 10.5406/21638195.94.4.03
A. Nesse
In this article, six autograph albums that were written in World War II will be analyzed. The owners of the albums were girls of eight to fourteen years from Bergen, a city on the western coast of Norway. The writers in the albums are mostly same-aged friends, but older family members also contribute with texts. The analysis includes different aspects of the texts: the memory verses, the illustrations, and the spelling. Because Norway was occupied by Germany starting in the Spring of 1940, all explicit utterances of national feelings—like singing or writing the national hymn, or hoisting or drawing the flag—were forbidden. Therefore, texts or illustrations displaying national motifs in words or drawings can be interpreted as acts of resistance. years before in spelling reformed and changed quite dramatically. New spelling were alongside the state administration. In a situation where access to school was difficult, and at times impossible, it is not necessarily obvious a it seems the new spelling prioritized. The aim of this article is to shed light both on how children’s resistance was shown through the texts and illustrations in the autograph albums and on how the teachers’ resistance might also have shown through the spelling conventions that the children used.
本文将分析在第二次世界大战期间创作的6本签名相册。这些相册的主人是来自挪威西海岸城市卑尔根的8到14岁的女孩。相册里的作者大多是同龄的朋友,但年长的家庭成员也会发短信。分析包括文本的不同方面:记忆诗句,插图和拼写。因为挪威从1940年春天开始被德国占领,所有表达民族感情的明确言论——比如唱或写国歌,或升起或画国旗——都是被禁止的。因此,在文字或图画中表现民族主题的文字或插图可以被理解为抵抗行为。几年前的拼写改革和相当戏剧性的变化。新的拼写与国家行政部门并列。在上学很困难的情况下,有时甚至是不可能的,这并不一定是明显的,似乎新的拼写优先。这篇文章的目的是阐明孩子们的抵抗是如何通过签名册中的文本和插图表现出来的,以及老师们的抵抗是如何通过孩子们使用的拼写习惯表现出来的。
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引用次数: 0
Ethnogenesis and Stranger-Kings in Old Scandinavian Literature 古斯堪地那维亚文学中的民族成因与异族国王
IF 0.4 4区 社会学 Q1 Arts and Humanities Pub Date : 2022-10-01 DOI: 10.5406/21638195.94.4.05
Jonas Wellendorf
A nation (gens) is a number of people sharing a single origin, or distinguished from another nation (natio) in accordance with its own grouping, as the “nations” of Greece or of Asia Minor. From this comes the term “shared heritage” (gentilitas). The word gens is also so called on account of the generations (generatio) of families, that is from “begetting” (gignere, ppl. genitus), as the term “nation” (natio) comes from “being born” (nasci, pp. natus). (Barney et al. 2006, 192)1
一个民族(氏族)是一群人,他们有一个共同的起源,或者根据自己的群体与另一个民族(民族)区分开来,如希腊或小亚细亚的“民族”。“共同遗产”(gentilitas)一词由此而来。“氏族”一词也被称为“代”(generatio)的家庭,这是来自“begetting”(gignere, ppl)。Genitus),因为“国家”(natio)一词来自“出生”(nasci, pp. natus)。(Barney et al. 2006, 192
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引用次数: 1
Scandinavian Exceptionalisms: Culture, Society, Discourse 斯堪的纳维亚例外:文化、社会、话语
IF 0.4 4区 社会学 Q1 Arts and Humanities Pub Date : 2022-10-01 DOI: 10.5406/21638195.94.3.05
William D. Banks
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引用次数: 0
Some Would Call This Living 有些人称之为生活
IF 0.4 4区 社会学 Q1 Arts and Humanities Pub Date : 2022-10-01 DOI: 10.5406/21638195.94.3.09
Leonie Marx
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引用次数: 0
Blixens humor 布利森的幽默
IF 0.4 4区 社会学 Q1 Arts and Humanities Pub Date : 2022-10-01 DOI: 10.5406/21638195.94.3.07
Susan C. Brantly
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引用次数: 0
Echoing Retorts in Hárbarðsljóð and Lokasenna Hárbarðsljóð和Lokasenna的反驳
IF 0.4 4区 社会学 Q1 Arts and Humanities Pub Date : 2022-10-01 DOI: 10.5406/21638195.94.4.04
Harriet Soper
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引用次数: 0
Tropes Revisited: Evert Sprinchorn's Ibsen's Kingdom: The Man and His Works and Recent Historical Research in Ibsen Studies 《易卜生的王国:人与作品》与易卜生研究的近代史研究
IF 0.4 4区 社会学 Q1 Arts and Humanities Pub Date : 2022-10-01 DOI: 10.5406/21638195.94.4.06
Ellen Rees
Evert Sprinchorn’s biography of the Norwegian dramatist Henrik Ibsen, Ibsen’s Kingdom: The Man and His Works, published by Yale University Press in 2020, is riddled throughout with errors and presents neither new information about “the Man” nor particularly insightful interpretations of “His Works.” Sprinchorn has missed what amounts to a revolution in historical and biographical research into Ibsen’s life spearheaded by Ivo de Figueiredo’s two-volume biography Henrik Ibsen: Mennesket (2006; Henrik Ibsen: The Human Being) and Henrik Ibsen: Masken (2007; Henrik Ibsen: The Mask).1 De Figueiredo’s groundbreaking study is now available in one volume in Robert Ferguson’s English translation, also published by Yale University Press (de Figueiredo 2019). The 2010 publication of Den biografiske Ibsen (The Biographical Ibsen) marks a major advancement in Ibsen scholarship overlooked by Sprinchorn; this collection of articles calls into question the historical accuracy of many of the persistent biographical tropes about Ibsen (Sæther, Dingstad, Kittang, and Rekdal 2010). Sprinchorn cites neither this important volume, nor any of the meticulously researched and compelling biographical, book-historical, and theaterhistorical findings by scholars such as Anette Storli Andersen, Ståle
Evert Sprinchorn为挪威剧作家Henrik Ibsen撰写的传记《易卜生的王国:人和他的作品》于2020年由耶鲁大学出版社出版,该传记漏洞百出,既没有提供关于“人”的新信息,也没有对“他的作品”做出特别有见地的解读。“斯普林乔恩错过了由伊沃·德·菲格雷多的两卷本传记《亨里克·易卜生:门尼斯基特》(2006年;亨里克·伊卜生:人类)和《亨里克·易卜生》(2007年;亨利克·易卜森:面具)所引领的对易卜生生活的历史和传记研究的革命翻译,也由耶鲁大学出版社出版(de Figueiredo 2019)。2010年出版的《易卜生传》标志着被斯普林乔恩忽视的易卜生学术的重大进步;这组文章对许多关于易卜生的传记比喻的历史准确性提出了质疑(Sæther、Dingstad、Kittang和Rekdal,2010年)。Sprinchorn既没有引用这本重要的书,也没有引用Anette Storli Andersen、Ståle等学者精心研究和引人注目的传记、书籍历史和戏剧历史发现
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引用次数: 0
Geopolitics, Northern Europe, and Nordic Noir: What Television Series Tell Us about World Politics by Robert A. Saunders (review) 地缘政治、北欧和北欧黑色:电视连续剧告诉我们的世界政治
IF 0.4 4区 社会学 Q1 Arts and Humanities Pub Date : 2022-10-01 DOI: 10.5406/21638195.94.4.07
R. Johnsen
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引用次数: 0
Encounters at the Mound in Old Norse Literature: Dialogues between Landscape and Narrative 古挪威文学中的丘上邂逅:景观与叙事的对话
IF 0.4 4区 社会学 Q1 Arts and Humanities Pub Date : 2022-10-01 DOI: 10.5406/21638195.94.4.01
Adèle Kreager
In Old Norse literature, landscape is a significant component of the grammar of a text. To take just three examples, consider Drangey in Grettis saga Ásmundarsonar: a sheer and unassailable island described as a “vígi” (Grettis saga Ásmundarsonar 1936, 218) [stronghold], where the outlaw Grettir makes his last stand. This “vígi” represents the ultimate topographical expression of Grettir’s progressive dislocation from society, a locus “symbolic of an incarcerated psyche” (Damico 1986, 11). Consider the body of water across which two hostile interlocutors hurl insults and negotiate identities in the eddic poem Hárbarðsljóð: “‘Hverr er sá karl karla / er kallar um váginn?’” (Hárbarðsljóð 2014, 389) [Who is that churl of churls who calls across the gulf?].2 This spatial threshold is structural to the speech-act that ensues, since it enforces verbal rather than martial combat. And consider the dynamic seascape of cliff, rock, and wave, conjured through cumulative kennings
在古挪威文学中,风景是文本语法的重要组成部分。举三个例子,看看格雷蒂斯传奇中的德拉盖:一个被描述为“维吉”(格雷蒂斯传奇,1936年218年)[据点]的纯粹而无懈可击的岛屿,不法分子格雷蒂尔在这里最后一次站起来。这个“vígi”代表了格雷蒂尔逐渐脱离社会的终极地形表达,这是一个“被监禁的精神象征”的场所(Damico 1986,11)。想想eddic诗歌Hárbarğsljóğ:“Hverr er sákarl karla/er kallar um váginn?”(Háerbarğsl jóabl 2014389)中,两个敌对的对话者在水体中辱骂和协商身份,因为它强制执行口头战斗而不是军事战斗。想想通过累积的kennings创造的悬崖、岩石和波浪的动态海景
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引用次数: 0
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SCANDINAVIAN STUDIES
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